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Record Reviews

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Below are some recently posted reviews.

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MODERN PETS:
“B.I.Y.S.” b/w “Sweet Frustration”: 7”
A double-hit shot of Modern Action/Dirtnap-styled punk strut, all dual-guitar attack and peacock strut.  –jimmy (Modern Pets)


MIGHTY FEVERS, THEE / MORBEATS:
Weird Affairs and Teengeneration Accidents: Split: 7”
Holy fuck. Thee Mighty Fevers just kicked the ever-lovin’ Teengenerate out of me. In point of fact, I think they just kicked the ever-lovin’ Teengenerate out of the entire neighborhood. I’m not sure why there aren’t more cops outside. Holy fuck. On the flip, the Morbeats kicked me square in the fucking Registrators ((which is an odd place to kick me, since they’re the ones who are doing the Teengenerate cover)). This isn’t the first record I’ve ever gotten that came equipped with a complimentary pair of earplugs, but it might be the first one where I was panicked enough to actually consider using them. In the immortal words of Andrew Dice Clay, “what was in those bombs, fuckin’ fertilizer?” Fuck Kobe Bryant—Kobe, Japan is where it’s at!!! BEST SONG: Thee Mighty Fevers, “Emotion Fire.” BEST SONG TITLE: Teengenerate, “Sex Cow.” FANTASTIC AMAZING TRIVIA FACT: I got #89 out of one hundred pressed and that was Dave Robinson’s jersey number.  –norb (One Chord Wonder)


MEATMEN, THE:
Savage Sagas from the Meatmen: CD
Just when you think Tesco Vee’s bag of tricks has surely run dry, he jerks off in it and fills it anew with songs that would make your parents really angry. Hell, they might even make you feel uncomfortable. Speaking of bags, check out this line from “Big Bloody Booger on the Bathroom Wall”: “Sprayed va-jj juice in my bag of Taco Bell. Loves me some fish tacos, so what the hell?” The Dutch Hercules’s voice is just as growly and greasy as ever, and the tunes rock just fine. The band even veers away from their standard punk rock’n’roll into country territory for “The Ballad of Stinky Penis”: “He crept across the desert sand, a fetid wiener in his hand.” Everyone needs at least one Meatmen record in the collection to make parties strange, and this is just as good as any.  –mp (Self Destructo)


MANGES, THE:
Plan Honolulu: 7”
Italian pop punk single with an A-side swiped from the album All Is Well. Eighty-eight seconds of straight-ahead smile punk with energy that transfers to the flip side for the previously unreleased “I’m Giving Up.” A definite must for fans of The Queers and Screeching Weasel. I want my hands on that full-length.  –Alanna Why (One Chord Wonder)


MANGES, THE:
All Is Well: CD
Italy’s pop punk sweethearts. Oddly enough, a friend of mine gave me a copy of the Japanese pressing of this disc not too long ago, so I was already quite familiar with it when it came to my mailbox for review. It may surprise some people to know that I’m not completely into modern pop punk. Crystal clear production and Marshall stacks aren’t exactly my idea of how it’s done. Thankfully, The Manges have their own thing going for them, which they do quite well. The guitars on All Is Well are thin and shrill (re: cool sounding), which isn’t something you’ll normally hear in this genre. The drums are compressed to the max, but are tight as all hell, as the band is normally. I’ve never had a chance to catch them live, but I imagine they’re a real blast in person. “Panic at the Ice Rink” is an obvious favorite. A few of their last releases have passed me by, but it’s nice to see bands that can stay afloat and keep it going.  –Steve Adamyk (It’s Alive)


MADISON BLOODBATH / WORTHWHILE WAY:
The Moon in the Darkness: Split 10”
Madison Bloodbath: The dominant vocalist is a dead ringer for Bob Mould’s primal howl, including his penchant for bursts of full-bodied aggression interlaced with heart-sinking hooks. In fact, the entire production conjures Zen Arcade in that it’s raw yet incredibly listenable. The guitar leads are never overtly upbeat or overplayed, but tastefully textured. My only ding is that they sometimes verge on cheeseball because of the gruff Muppet-y vocalist that chimes in too often. Constipated gang vocals in pop punk must be destroyed. Worthwhile Way: Ditch the Prozac and get a prescription of Worthwhile Way from Japan. Their brand of unabashed positivity filtered through country twang and open chord folkiness will greatly increase your serotonin levels. Lyrics like “Children are singing merrily” and “Life is enjoying what you have” will have you shedding your cynicism faster than a horny teenager’s slacks at senior prom. Their four-song contribution isn’t sappy or cloying but genuinely endearing and maturely written pop balladry. I’m smitten.  –Sean Arenas (ADD / Eager Beaver)


LUBRICANTS:
“Activated Energy” b/w “Transformation Vacation”: 7”
Self-identifying as “Milwaukee’s first punk band” ((I guess I’ll take their word for it)), this 1980 single is the band’s sole release during their lifespan, and is pretty much jacked in to the subversive current emitted by the death of ‘70s punk which, Frankenstein-like, begat hardcore somewhere after the new wave ebb tide of 1980. “Activated Energy,” doesn’t seem too far removed, spiritually, from songs like “Intensified Chaos,” off the Not So Quiet on the Western Front album a few years later, although, tempo-wise, things are still grounded in ‘70s neo-orthodoxy. It also features female backing vocals for a last gasp of that eyeshadowed siren sound, right before girls were purged from the scene at the start of 1982. “Transformation Vacation,” is more or less more of the same, minus the backing vocals and the high-end-heavy James Williamson guitar wig-outs of the flip. I read this band’s viscosity at twelve seconds using a #3 Zahn cup, and that’s the sign of a quality varnish. BEST SONG: “Activated Energy.” BEST SONG TITLE: “Transformation Vacation.” FANTASTIC AMAZING TRIVIA FACT: I saw the Lubricants for the first time last year and then I puked all over the Turner Hall bathroom floor.  –norb (Rerun)


LOUD ONES, THE:
Time to Skate: CD
I love skate rock. It all goes back to reading Thrasher magazine at the age of thirteen. There weren’t many places to skate in the dead of the Canadian winter, so I would sit around in my room with my Thrashers, pouring over every single word and photo as my fingertips would get blacker and blacker from the ink on the newsprint. I would read “Pus Zone” and “Notes from the Underground” and learn about a huge subculture of punk and hardcore bands comprised of skaters. I quickly started searching out bands such as The Faction, JFA, and Drunk Injuns. Worlds collided. My teenage mind was blown. Songs about skating by skaters! A huge part of my life (to this day) was formed. Back then, I never had the chance to hear The Loud Ones. I’m sure I’d heard that Alva pro Fred Smith III had been in a band, but it had always eluded my ears until now. What we have here is a reunited Loud Ones recording some of their old classics, along with some new tunes. While projects like this can be dicey at best, I am incredibly happy to say that this album is amazing! It may have been recorded in 2012, but they sound like a skate rock band that has been in a time capsule since 1984. I can’t tell which are the old songs and which ones are new. It’s just pure guitar shred and snotty, ridiculous songs about skating. I love this so much! As if that wasn’t enough, the disc also includes their original demos from 1983 and 1985 and some live tracks from 1984. Add cover art by Bobby Brown (one of the best skate artists in the biz today) and you’ve got one hell of a package!  –ty (Beer City)


LOS GATOS NEGROS:
Self-titled: LP
It’s difficult to describe the electricity I felt withdrawing this record from the Razorcake review bin. It clicked instantly what I held in my hands, but I have to think back to my sophomore year in high school to get the feeling just right. I used to download copious amounts of music in my graphic design class. One day, I discovered that a senior was doing the exact same thing on our shared computer, except he was downloading the artists that I intended to pirate in the first place: Defiance, Ohio, Japanther, Andrew Jackson Jihad and a mysterious group that flew under my radar—Los Gatos Negros. With my flash drive, I stole the stolen songs. Eventually, that senior became one of my closest friends and Los Gatos Negros’ ten-song album remained one of my favorite little gems all the way up until the present. Some eight years later, Plan-It-X has finally gotten around to pressing these tasty tunes on vinyl and, although I’m biased, it’s probably the most important record to be released this century. Who are these black cats, you ask? I’m not permitted to share. Maintaining their secrecy is of the utmost importance, but these pranksters have graced us with a beautiful comic book zine detailing their means of deconstructing the manacles of modern society. How do these playful anarchists intend on doing this, you wonder? It should be obvious: Through the power of electrified instruments and costumed dance punk. You have one more question, do you? What time is it? “It’s time to get down! It’s time to get busy!”  –Sean Arenas (Plan-It-X)


LOS GATOS LOCOS:
Even Sociopaths Get the Blues: CD
This being my first venture into the psychobilly genre, I have to say I’m pleasantly surprised by this band’s intensity. The opening track “Dog Eat Dog” burns at a rippin’ pace laying a foundation for a killer record. The powered up tempo and in your face lyrical content of “Psychobully” has got to be the highlight of this record for me. I can’t imagine these guys not including this song in every one of their live performances. Another solid performance is the song “Stark Raving Normal”, complete with a Misfits style sing-a-long chorus. Whether you’re a metal head (did I mention they blast through Iron Maiden’s “Running Free”?) or a hardcore punk, this album will not disappoint. These guys have definitely opened my eyes to a whole new genre of music and I look forward to hearing more.  –Brent Nimz (Zodiac Killer)


LIVEFASTDIE:
Hitstains: LP
Who doesn’t appreciate an album name written in what can only be presumed as shit smeared on the front cover minus the “s”? Hitstains is a singles comp of NY punk band LiveFastDie from 2005-2008, before calling it quits in 2009, with various turds and tidbit goody releases that they prolifically spewed out within such a short time span. If you’re not familiar with LiveFastDie, it’s straight-up, blown-out garage rock; think an American Teengenerate. Back cover has a nice little write up on the chronology of this twenty-one song LP, giving us a clue on all the shit-tacular happenings surrounding their short-lived escapades. LiveFastDie, I mean, yeah, they lived up to their name; it’s the shit.  –Camylle Reynolds (Almost Ready)


LAENGTHENGURTHE:
An Uncomfortable Amount of…: CD
Anthology of recordings spanning the years 2001-2011 from this inveterate grindcore/metal band from Boise, ID. The consistent cookie monster vocals make the seventy-three tracks on this CD a bit much to take in one sitting but decent in small doses. Kudos for the awesome song titles, though. My favorite? “She Slipped in the Shower Attending to Her Needs.” –Garrett Barnwell (1332)


KLH:
Matando Idolos: CD
A fairly brutal bunch from Mexico City showing lots of respect for mid-’80s breakdown-heavy HC but taking it a bit louder and faster, like MDC with a little more polish.  –Lisa Weiss (Puercords)


LA PESTE:
“Better Off Dead” b/w “Black”: 7”
From what I’ve been able to gather, La Peste are an overlooked trio from Boston that never released a proper LP, but are nonetheless remembered for the handful of jams they recorded during their brief existence. First off, Wharf Cat’s reissue is spot-on, with a reprinted show flier insert and an additional photograph of the group. On the insert, Mission Of Burma’s Roger Miller provides a quote, which is fitting, as I can assume from these two brief tracks, that La Peste’s musical trajectory might have further coincided with these fellow Bostonian luminaries. “Better Off Dead” is definitely the hit. It opens with guitar and some chiming on the cymbals. For being over thirty years old, the song is urgent and still slyly tongue-in-cheek. The jangly guitar tone conjures bands across the pond like Gang Of Four, Wire, and Zounds. “Black” is more avant-garde and, frankly, less effective. It doesn’t hold up nearly as well as the pogo-inducing jam on the opposite side. This 7” wasn’t reissued to cash in on nostalgia, rather because La Peste were truly ahead of the curve and well-worth revisiting or appreciating for the first time.  –Sean Arenas (Wharf Cat)


KINGONS / MAXIES, THE:
Objector: CD
Match made in heaven on this split. Both bands have an affinity for chunky pop punk and cheeky concepts. If this were a wrestling match, I’d have to say the Maxies win on the strength of “It’s Too Damn Hot Where You Come From,” which already gets my vote for song of the summer.  –Garrett Barnwell (It’s Alive)


KIDNAPPERS:
Pills: 7” EP
Wow, been a helluva long time since I last heard anything from these cats. Sound is a bit darker over the first two tunes, more in line with, say, Overnight Lows than Modern Action. Nonetheless, though, ye find yerself bobbing along, and by the last tune they’ve thrown the swagger back in the mix and you know yer back on familiar terra. Nice visit. Hope they come sit a spell a bit more often.  –jimmy (Secret Mission)


INFERNO:
Pioneering Work - Discography: 2 x CD
As in life, the annals of hardcore are filled with bands that were good, fewer bands that were great, and maybe a handful that just went above and beyond the rest and ended up with a singular sound that one can say, “that’s ____,” when a tune comes on. Germany’s Inferno handily falls within the latter. From their introduction to U.S. punkers via their tracks on MRR’s Welcome to 1984 and Pushead’s Cleanse the Bacteria comps, it was clear these cats were working on a whole different level from the pack of generic thrashers then glutting the market. Like legendary DC band Void, Inferno’s brand of revved-up hardcore contained copious amounts of metal and sly hooks buried under all the Sturm und Drang. Inferno delivered their tunes at velocities that made ‘em sound like they were always on the verge of completely falling apart, yet somehow never quite doing so and, in some cases, oddly enough sounded tight in their borderline chaos. This American pressing of their collected works pulls together fifty-six tracks from assorted albums, splits, EPs and comps spanning the years 1984-92 spread over two discs, and throws in a thirty-two page booklet with the band’s history, flyers, and English translations of their lyrics for good measure. There are some strange differences in the re-mastering from the originals (the intro to “Steinkopf,” has been inexplicably excised, for example), but that shouldn’t dissuade fans of the genre from reveling in the fast ‘n’ spastic thrash these cats unleashed. To paraphrase something Pushead once wrote in a review of one of the band’s releases, plop this into the player and explode.  –jimmy (Beer City)


HOSPITAL JOB:
The Believer: CD/LP
Hospital Job is fronted by Luke McNeill, drummer of Illinois champs The Copyrights, and also features members of Horrible Things, who have been near the top of my pop punk list since about halfway through the first song I heard by them. Accordingly, The Believer is an anthemic blast more than worthy of its pedigree. Eleven tracks of tight, melodic pop punk with as many singalong choruses as whoa-ohs and group harmonies. Not to say that these guys stick to the mold of one of punk’s most formulaic sub-subgenres—there are enough quirky chord changes and oddball fills to keep listeners on their toes. In fact, the album’s high point may also be its most unexpected. “The Scrivener” dials back the four-on-the-floor energy in favor of a slow, dreamy swell that breaks at just the right moment. Don’t take this the wrong way, but remember when Blink-182 started getting really, really weird? This is like what it could have been like if that had worked out shockingly well for them. That’s an alternate universe I wouldn’t mind living in.  –Indiana Laub (It’s Alive / Insubordination)


HI HO SILVER AWAY:
Chore: CD/LP
Whoa, shit. Wanna hear a story or ten about regret and penance? This DIY punk outta Santa Barbara feels so familiar, like the filthy Snuggie ya curl up into to work through some shit. Simon Sotelo elevates the mundane to haunting with her cover art. So good.  –Jackie Rusted (It’s Alive / Secret Pennies)


HEARTBURNS:
Cold Hell Below: 7”
Dirty, rough, and fast. Light, poppy undertones and dripping with sticky, sweet, fun chord progressions, this band will make you wanna get off your ass and start dancing. This is fun, unpredictable, and perfection pressed into a wonderful four-song 7”.  –Genevieve Armstrong (Combat Rock Industry)


HARD GIRLS:
A Thousand Surfaces: LP
Trios are typically concise. Their sound isn’t muddied by multiple guitarists dueling over sonic superiority. Hard Girls are a prime example, subtle and perfected, like a fine wine produced from select, organic grapes, in a cultivated region, with a long maturation period. But they’re inexpensive, rich with melody, and a sommelier’s secret drink—the people’s wine. They’re the type of band that gets me out of the house, in my car, and at a show on a weeknight. The type of band that is both technically impressive, with tempo changes and deliberate riffage, yet seamlessly catchy, like Jawbreaker and The Weakerthans filtered through Guided By Voices and Dinosaur Jr. Hard Girls’ eclecticism is highlighted by Jesse Michael’s mind-bending album art. The opening song, “The Quark,” begins with a strummed open chord and the declaration, “Space can never be erased,” solidifying their philosophical approach. What follows are thirteen more sweltering jams that differ from head-on gut-punchers to tearjerkers and everything in-between, varied by the two distinct vocalists. The guitar playing is textural and searing, while the bass drives the central melody with its fuzzy Lou Barlow tone, and the frenetic drumming binds all of the elements together. With lyrics that run the gamut from literary to bleak humor, dream analysis to sci-fi, the sort of spectrum that ensures they’re never pigeonholed. (Favorite line: “So we can all get high now, ‘cause we’ll never find a way to get by now.”) Ultimately, Hard Girls are writing albums, not the same song, same progression, same tone over and over again, sidestepping the infinite loop of punk paint-by-numbers. Highly recommended.  –Sean Arenas (Asian Man)


GOOD LOOKIN’ OUT:
This Is It: LP
Good Lookin’ Out present nineteen tracks of well played, but formulaic, post-youth crew revival from Poland. The breakdowns and gang vocals are all in the right places, and an emotional honesty pervades, but the album begins to feel bland not even half way through. Blandness aside, whether it is a language barrier (as the vocals are in English) or just typical hardcore vacuity, the lyrics really put this one in its coffin. The lyrics are fucking weak and suffer horribly from vagueness; they’re just ardent declarations without any context, precluding any insight into whether these fellas have their heads about them or if they are just morons with thuggish anger. Also of note, one of the members is holding a lit cigarette on the cover, somewhat reminiscent of Erik Funk on that one Billingsgate 7”, letting the world know that this ain’t a straight edge band, despite all other indications to the contrary.  –Vincent Battilana (Pasazer)


GLOW GOD:
House of Distractions: CD
A bit of a delay on this one, I know. See, I thought I’d lost the album, but discovered it again only recently when cleaning. Since the fine folks at Play Pinball are such great dudes, I couldn’t in good conscience let this one go untouched. Now, on to Glow God: a grunge band (as much as I loathe using that term) from the depths of OKC, with their first long player. It’s a consistent record of upbeat sludge-suckers, with a nod to the ‘90s. Most of the tracks, save “Could Be Worse,” have a slightly less angry / evil-sounding Pissed Jeans thing going on. Or, if that’s too vague, maybe a more straight-forward Cows. Glow God doesn’t exactly belong on AmRep or anything, either. House of Distractions is a streamlined punk record, for the most part. Which makes sense, since all other releases on this label are fine examples of how modern punk doesn’t have to be a heaping pile of shit. –Steve Adamyk (Play Pinball)


GIUDA:
Let’s Do It Again: LP
Put this Giuda record on in between Thin Lizzy and Slade and Milk ‘N’ Cookies and Elton John and Queen and feel the jean jackets and see the soft focus starlight effect on everything and pump your fist and go skating and grab a six-pack and get high and hang out and make out because it’s the ‘70s and the world is incredible and stupid and it truly isn’t gonna get any better.  –Matt Werts (TKO)


GEORGE SARAH:
Timelapse: CD
Gloomy, ambient synth/computer-generated “industrial” fodder falling between the instrumental work of early Coil and maybe Doubting Thomas. It’s well produced and very cinematic, but aurally comes off more like a series of snapshots than a cohesive release. Wouldn’t be surprised in the least if some of this stuff ends up being used in a film with creepy, jittery, high-res imagery.  –jimmy (Flat Field)


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